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THOMAS SHERATON

THE FURNITURE DESIGNS OF

THOMAS SHERATON

ARRANGED BY J. MUNRO BELL

WITH AN INTRODUCTION AND CRITICAL ESTIMATE BY

ARTHUR HAYDEN

AUTHOR OF " CHATS ON OLD FURNITURE," ETC. ETC.

LONDON

GIBBINGS AND COMPANY, LIMITED

1 8 BURY STREET, W.C.
1910

AllC

The Riverside Press Limited, Edinburgh

INTRODUCTION

CHIPPENDALE, HEPPLEWHITE AND SHERATON

FURNITURE DESIGNS

HERE are many reasons why the second half of
the eighteenth century has especial attractions for
the connoisseur of English furniture. It was then
for the first time that furniture designers and
cabinet-makers began to impress their personality
upon their work. There is English spirit enough
in much of the early Stuart oak furniture, sturdy
and national in its conception and treatment.

Italian and French influences had begun to divert the steady growth of
an English art but the stream of evolution continued in spite of extraneous
foreign luxuries.

In Charles II. 's day the fashion for the moment swerved to Portuguese
leather-back chairs in compliment to the Queen Consort, Catherine of
Braganza. Later the strong Dutch influence of the court of William of
Orange had lasting effects on the decoration of the English home. Much
of the furniture of that period is as Dutch in origin as the blue Delft jars
at Hampton Court. Queen Anne only reigned fourteen years and the style
associated with her is the beginning of homely art and interior decoration
of a home-loving race. Early Georgian days saw walnut established in
succession to the Tudor and Stuart oak. In the opening years of the
eighteenth century the claw-and-ball foot made its appearance. It was an
adaptation, through Holland, of the Oriental design of the dragon's claw
holding a pearl. To go further back it must not be forgotten that before
the Civil War interrupted the steady growth of art under Charles I. that
the tapestry factory at Mortlake was producing coverings for cushions and
chairs and day-beds, and bed-hangings in imitation of Gobelins. One
other point must not be omitted; as early as 1715, the second year of
Anne's reign, mahogany was in use as a luxurious wood and at Ham House
there is a suite of furniture of this date in mahogany.

The time was ripe for the man, and under various influences — the
heavy style of solid design, as for instance the wide splat-back chair and
settee ; the importation of French taste in sweeping rococo ornament ; and
v

INTRODUCTION

the fashion for Chinese design introduced by Sir William Chambers-
decorative art was inclined to get out of bounds. Thomas Chippendale,
with the fine selective faculty with which genius alone is endowed, took
from these apparently incongruous materials motifs for his designs and
welded them in one harmonious whole. His Director published in 1754
marks a new era in English design. From his day individuality became
the note in furniture.

Up till then, whether it be the age of oak, or the age of walnut, the
terms Tudor, Stuart, Jacobean, William and Mary, Anne, or Georgian, are
names applied by modern connoisseurs to various styles. After Chippen-
dale furniture began to be classified according to the particular designers

or makers.

This volume is a reissue of his celebrated work : " The Gentleman
and Cabinet-Maker s Director, being a large Collection of the most Elegant
and Useful Designs of Household Furniture in the Gothic, Chinese, and
Modern taste . . . Calculated to improve and refine the present Tasfe, and
suited to the Fancy and Circumstances of Persons in all Degrees of .Life"
The importance of this book of designs cannot be overrated. I\t was
subscribed for in Yorkshire, in Westmorland, in Devon, in Ireland.
Copies of it found their way to America and a school of wood-carver^ and
cabinet-makers at Newport created new traditions.

These books of design are as valuable as the drawings of the old masters.
The Leonardo da Vincis, the Albert Diirers, and the Holbeins treasured
from Vienna to Windsor are not more suggestive to the young designer,
to the student or to the collector than are these books issued in the middle
eighteenth century by the greatest masters of English furniture design.

For fifty years the school of Chippendale held sway, from 1730 to
1780. The Hepplewhite school may be reckoned as from about 1775 to
1795, and the Sheraton school from about 1790 to 1805, and behind all
was the great and pronounced influence of the Brothers Adam with their
absorption of classicism and severe forms coincident with the French
chaste classic styles.

In the contemplation of these series of designs it should be borne in
mind that Chippendale and his school are the embodiment of form, and
that Sheraton and his school are the embodiment of colour, as applied
to furniture. Hepplewhite has a relationship to both. He reached his
results by form, and he employed marqueterie and the subtleties of
Sheraton in many of his effects.

But since the advent of personalities, Chippendale, Hepplewhite and
Sheraton are not the only names. All these eighteenth-century volumes
of design are becoming scarce and difficult to procure in any state, and
consequently rapidly increasing in price. Undoubtedly the rarest of all
the books at this time is " Ince and May hew" s Household Furniture,

INTRODUCTION vii

consisting of above 3°° designs in the most elegant taste both Useful
an OrnaLal, 95 beautifully engraved plates of Hall Chairs, Lantorns,
Staircase Lights, Sideboards, Claw-Tables, Tea Kettle Stands, Bookcases
Secretaires, Library - Steps, Writing Tables, Music Desks Canopy Bed
French Bed Chairs, Dressing Tables, Book and China Shelves &c W*A
descriptions in English and French, Published by Ince and Mayhem,
Cabinet-Makers Broad Street, Golden Square in 1748, that is to say a few
years earlier than Chippendale's Director. The value of this is now about
/6o There is the book of designs by Inigo Jones, Lord Burlington and
Kent, with 53 engraved plates of designs for Chimney-pieces Ceilings,
Sides of Rooms, Piers, etc, executed at Chiswick, Stow, Houghton etc.
published in 1743, which is worth about £3. There is ^the Genteel
Household Furniture in the Present Taste by a Society of Upholsterers
Cabinet-Makers &c.? published in 1765, with 100 plates, and a second
edition with 350 designs on 120 copper-plates containing designs of chairs
by Manwaring, Ince, Mayhew, Johnson, and others, this edition sells for
/7 IQS There is "Works' in Architecture" (R. & J. Adam), published
to 1773-1779, containing plates engraved by Bartolozzi, Pastorini, Vivarez,
and others, with interiors and designs of Chimney-pieces Ceilings,
Furniture, Metal-work, etc. Volumes i. and ii. of this bring about / 30,
and they contain designs for Sion House, Lord Mansfield's House at Ken
Wood, Sir Watkin Wynn's House in St James' Square, and others, mclud:
the Admiralty Offices, Whitehall.

In fact, subsequent to Chippendale's day there was a plethora of books
of design, and these as a literature of the subject are of superlative value to
the student, the collector, and the connoisseur, each approaching English
furniture from his own standpoint. The folly of those who contend that
the twentieth century should produce a school of its own is refuted by
these old books of design. The evolution of English furniture is well
assured. The twentieth century is producing a school. The great hiatus
of the Victorian days when, not only in this country but in general,
decorative and applied art had sunk to a low level has been bridged over
by such volumes as are here reproduced. The student of design, if he
be wise will avoid the nightmare of modern furniture exhibited at the
Bethnal' Green Museum, will eschew the Great Exhibition period, and
will essay to educate his eye with models of the days when men designed
in rich and gay profusion for the downright love of their craft,
viduality was killed by the growth of machine-made mouldings, and
machine-made art lacks the repose which is so pronounced a feat
eighteenth-century and of earlier work.

The restless cataclysm of design which heralded the nineteenth
century, when every ten years had its particular style, boded ill for
steady growth of national art. We catch the note of defiant, almoi

Vlll

INTRODUCTION

strident, rivalry in Sheraton's allusion to Chippendale's work. "As for
the designs themselves they are wholly antiquated and laid aside, though
possessed of great merit according to the times in which they were
executed." But we who are able to survey the field of furniture dis-
passionately can give to Chippendale what is his, and to Sheraton what is
his also, and can value correctly the Brothers Adam with their great and
permanent influence, and assign places in relative importance to Hepple-
white, Manwaring, Ince, Mayhew, and the others.

As to what is and what is not original, to quote Sir Roger de
Coverley, " much might be said on both sides," but the difference between
genius and mediocrity is the appalling lack of the sense of proportion in
the latter. A genius such as Chippendale could take details from the
Dutch cabinet-maker, from the rococo style of Louis XV., and from the
Chinese fretworker, and combine them with perfect harmony into some-
thing at once true and beautiful. But he rejected more than he selected.
Perhaps it is not so much the art of selection as the art of rejection
which counts. It is the true sanity of genius to reject wisely. The
mediocre worker seems gifted in selecting the worst features of his
prototypes and amplifying them. Johnson's designs after Chippendale
are practically caricatures since they embody Chippendale's worst styles
and most assailable points in design.

Hence the value to the student in design of being able readily
to pass in review the long line of furniture designers covering an
appreciable distance of time and the ability to reject the banalities of
the early and middle nineteenth century. Books of design issued by
such men as Chippendale, Hepplewhite, Sheraton and others, dated,
and bearing the authentic impress of the designer with the pride
of the craftsman in his conceptions, mark at once with authenticity
sharp divisions between the styles. They crystallise the message which
each sent forth to his generation. In comparison, each with each,
they enable the subtleties of invention and divergence of treatment to
be criticised. In point of time they overlap, but in regard to style
there are personal idiosyncrasies which stand out. Cabinet-makers up
and down the country followed with more or less personal additions the
designs of these great masters. For instance, Ireland evolved a Chippen-
dale school of her own, with carving in low relief and native touches
of design easily recognisable. The auction-room to-day finds collectors
and experts joining issue as to exactitudes of origin. ' These books of
design come therefore as the key to an admittedly golden period i
English furniture design.

ARTHUR HAYDEN.

THOMAS SHERATON

1751-1804

vf« °f master cabinet-

c^men JftttZ££ "EL^-M

architect, and Thomas Sheraton the ' ' ' "

tive of designers
most remarkable degree, but
cabinet - making themselves.
J793-) But here the

- -•» -.

came to London

d°Ub' *"' Shera(™'

designs, published and unpubHsheH « '$

men with' greater aptit Tfc , bu C" H s"

of his philosophic quality wh T u T """* C°"vey a touch

racking my inventio'n , 7de± fine and"' e" "K-" "emP'°yed '"

be well content to sit on ' k P g cab'n«-wrk. I can

can bu, have common food Id "' b°"°mi,chair *J"*, P™vided I

life in peace." "d ri"ment "herewith to pass through

»«i-wood furniture of
cacy of invention ses „ nr 'I' *" ^"^ W"h a rare deli-

again he touches W," amB a'k TwhoTe T (" *' aUCtio"-rooIn- Here
k .e, whose des,gns have won him eternal fame

THOMAS SHERATON
L who often hadnot money enough when he lived to buy cop,

has btrtiven" toposreriVby Adam Black who j^4.«^.^

from BL-^^^^^^ L house, half shop half
Young Black found him ir out Methodist minister, with

dwelling house, and looked himse c a w ^ ^^ wefe

th-dbare black coat^ I«^^£ his wife, and a little porringer
a cup and saucer for the ' ho*, >nd ^ n w and sh

for their daughter The wift ^ P Thg ^^^ fterwards

had to put up with a little pon in , ive^ half a guinea for his week s

publisher of the Encyclopedia : iH_kept fehop. " Miserable

i_ .-„ *-,,;nrr tQ brine arrangement in nnnr

he writes " I was half ashamed to takeS it from 1
' \

first book of designs

containing a "vanety "'^of articles of furniture, sides of
here &»£• rf ^ d hteenth century from ,748, when Ince and

vicin ty was no less than ,,L There is no doubt that many of these men
did good work. What is known, for instance, of Seddon » one of the mo
emifent cabinet-makers in London"? Bu, according to ^Annual Reguter
J,^ he had a fire a, his premises in Aldersgate Street wh.ch d,d damage

to the extent of £20,000. f

The early Chippendale school had given place to the scho<

1 » Memoirs of Adam Black," 1885.

THOMAS SHERATON xi

queterie workers, compeers of Hepplewhite, who employed satin-wood
veneer and inlays of coloured woods, and who revelled in painted panels
with subjects as French in feeling as the lunettes of Natoire and Boucher.
In 1773, so strongly had the current set in for colour, that Chippendale,
then an old man, made a set of satin-wood furniture after the designs of
Robert Adam for the Lascelles family. The beautiful contrasts of colour
against the golden satin-wood ground are remarkable. The dressing-table
commode of this suite has a veneered satin-wood ground inlaid with green
garrya husks, and wreaths of this inlay encircle panels of seated figures of
Diana and Minerva inlaid with coloured woods and ivory on a black ground.
So elaborate were some of the pieces of this suite at Harewood House that
the cast and chased metal work equals that of Gouthiere.

Prior to Sheraton's day pieces of lesser magnificence than those
executed for noblemen's mansions were painted in the Hepplewhite style,
and the use of satin-wood was becoming popular. Sheraton came to
London in 1790, and died in 1804, so that his influence as a designer
extended only over a period of fourteen years. He found a rapidly in-
creasing love for the elegance of the French designers, and he identified
himself so much with boudoir art that many of his designs might well be
taken as original French conceptions. The lathe is used more freely in
Sheraton chairs and tables than by his forerunners. His details have a
charm and delicacy unsurpassed in English design. In comparison with
Hepplewhite he had a finely developed sense of proportion. Grace and
symmetry are never wanting in his designs. He held very sound views
in regard to ornament which in his work was never meaningless. It is
part of the construction, and never appears to be an afterthought. It is
reticent and subdued, but possesses a beauty which successive generations
of connoisseurs have acclaimed.

The Drawing-Book tells its own story. The "Conversation Chairs"
and Sofa (p. 3) require a word of explanation. The chairs were used
by gentlemen who sat astride with the back of the chair facing the sofa,
the seat of honour. The top of the chair was used for leaning upon.
The backs for Parlour Chairs (p. 4) exhibit a rare delicacy of finely
proportioned ornament. The delicacy of detail is exemplified in the
Elbows for Drawing-Room Chairs (p. 7), and the Chair Legs (p. 8) in-
dicate something more detailed in carving than is usually associated with
Sheraton by collectors and students familiar only with the satin-wood
examples of table legs of tapering form, with no carving, but dependent
on inlay for their decoration. In the Card Tables and the Kidney Table
(p. 13), one sees at once the touch of Sheraton. Chippendale would not
have produced such a design as the kidney table with its novel form and
its bowed fronts, and slender grace and elegance. Hepplewhite was too
studied and painstaking to have conceived so original a design. Similarly

xii THOMAS SHERATON

in the borders for Pier Tables, Sheraton is as bold and original in his
marqueterie design as was Chippendale in his carving in mahogany.

In regard to the elaborate mechanical devices in dressing tables and
library furniture, it is possible that Shearer, who was a past master in such
inventions, may have followed out these designs of Sheraton, and he probably
had an influence on Sheraton in their conception.

The painted panel of the Hepplewhite school found its ideal in such
examples as the Ornament for a Table (p. 14) with the fine figures of Venus
and Adonis.

In regard to the painting of Sheraton's furniture by Angelica Kauf-
mann, there is room for considerable scepticism, as Sheraton did not come
to London till 1 790, and Angelica, on her marriage with Zucchi, left England
in 1781, and resided in Rome till 1795.

A series of Bookcase Doors (pp. 20 and 21) exhibits Sheraton's
originality of idea, and the leaves in carving show a grace and firmness of
touch unapproached by Hepplewhite in his Prince of Wales's feathers.

The "Horse Dressing Glass" (p. 32) still retained in the word
" Cheval " is merely a term denoting a larger size, made familiar in such
phrases as horse-play, horse-laugh, horse-chestnut.

The Sideboard and Sideboard Table (p. 34) show graceful lines and
curves not before introduced into English furniture, and essentially belong-
ing to the school of designers founded by Sheraton.

In the Designs for Household Furniture the chairs depart in marked
manner from the grace and symmetry of Sheraton's earlier forms. They
mark his decadent period when he came under the influence of the
Napoleonic modes in French furniture, and they betray, what is rare in
Sheraton, a slight want of balance. Some of his Library Tables (notably
that illustrated, p. 94) exhibit powerful design and well-balanced
proportions.

As a summary of Sheraton's style, it may be advanced that he imparted to
furniture a subtlety and elegance which broke away from the old traditions
of the school of carvers. Robert Adam regarded furniture as an adjunct
to his architectural details. He made the lines of his furniture designs
subservient to the scheme of decoration. Away from its environment
Adam furniture is hard and lacks repose. Sheraton designed furniture for
the love of his art. His style is rich with piquant suggestiveness. In
colour it is alluring, in form it is elegant and refined, and full of artistic
surprises. The dainty boudoir was his by conquest. His furniture belongs
to the age of the insipidities of the Bartolozzi school of stipple engraving,
and to the finnicking mannerisms of the days of colour prints. His colour
schemes found favour with Mrs Siddons, Mrs Fitzherbert, and Lady Hamilton.
His importations from France, the pseudo-classicism of the court of Marie
Antoinette, took root here as something new. But in spite of the source

THOMAS SHERATON xiii

of his inspiration there is an originality of treatment which marks his style
as distinctive, and stamps Sheraton as a master designer. There is much
which may some day be discovered by research relating to firms such as
Gillow and others, for whom Sheraton designed ; at present his work for
contemporary cabinet-makers is lost in a crowded and prolific period.
One is on sure ground when studying his published books of designs. Be-
yond this Sheraton's actual work is largely conjectural. But his influence
in English furniture design is permanent.

ARTHUR HAYDEN.

THE CABINET-MAKER AND
UPHOLSTERER'S DRAWING-BOOK

THE

CABINET-MAKER

AND

UPHOLSTERER'S

DRAWING-BOOK.

IN FOUR PARTS.

THOMAS SHERATON.

CABINET-MAKER.

Recommended by many Workmen of the First Abilities in London
who have themselves inspected the Work.

THE THIRD EDITION REVISED,

And the whole Embellished with 122 Elegant Copper-Plates.

LONDON:

PRINTED BY T. BENSLEY, BOLT COURT, FLEET STREET,

FOR W. BAYNES (SUCCESSOR TO G. TERRY), 54, PATERNOSTER ROW.

SOLD ALSO BY J. ARCHER, DUBLIN, AND ALL OTHER BOOKSELLERS.

l802

CABINET-MAKERS AND UPHOLSTERERS

IN GENERAL

GENTLEMEN,
preceding &?&* rawing-book

words to

uef prefice <

Therefore, what I have fu h r l^av in rV " A 2 °' "^ *" ™de«aking.
account of my plan> and %£ £* yo tl d ff* '"''I be » «!™ "*
other books which have been published fo,h d.'ffere"« b««een this and
makers and Upholsterers PUW'Shed for the ass.stance and use of Cabinet-

But none of these, as far as I kno« °,pu™ld' have already appeared.
to the art of making perl «fve d±,f ' " ^ "7 ««"-«"• «te^
lines as ought to Jkno™ ^ by per so" of h Th '° T' °f SUCh Seom«™al
of them as have a number of men u°d r1h /™ °°S> ^"^ such
books given accurate patterns aTlare fo e"10n- N°r have th«"

*e various pieces ofLrk !£&££%££ T^ ""^
Such patterns are also highly necessarv T t Cabmet bra"ch.

sufficiently qualify themselel faS , SZ " tW,Wh° W°U'd
of anythmg they meet with, or are required to f ' °f rCgUlar drawing.

would this performance answer so lei 1 tO, ,draw f r °*«»- Nor indeed
without them. I hope, therefore , hit %""' °f S Drawing-book

Applied in the following work and ha " TK' eSrCC the abo™ defect is
»«t to the real va.ue and usefulness f he Cah *%??*"* " m enha—
Drawing-Book to be furnished wha ^S^T t "" Uph°lsterer>s
serve, both for the purpose of the learner In?, ' • Or"amentS "S sha"
who have occasion to ^dorn thefrt0 3SS1St thC "

jus, o7

Pushed befofe

PREFACE

appearance of the furniture, for there is no date to it ; but the title
informs us that it was composed by a Society of Cabinet-makers :
London. It gives no instructions for drawing in any form, but we may
venture to say that those who drew the designs wanted a good share

teaching themselves.

Chippendale's book seems to be next in order to this, but the rmer
is without comparison to it, either as to size or real merit. Chippendale s
book has, it is true, given us the proportions of the Five Orders, and
lines for two or three cases, which is all it pretends to relative to rules
for drawing : and, as for the designs themselves, they are now wholly
antiquated and laid aside, though possessed of great merit, according to
the times in which they were executed. But it may here be remarke<
to his credit, that although he has not given rules for drawing in ' per-
spective himself yet he was sensible of their importance, and use in
designing, and therefore he says in his preface : " Without some know-
ledge of the rules of perspective, the cabinet-maker cannot make the
designs of his work intelligible, nor shew, in a little compass, the whole
conduct and effect of the piece. These, therefore, referring to architecture
also, ought to be carefully studied by every one who would excel in this
branch, since they are the very soul and basis of his art."

After Chippendale's work there appeared, in the year sixty-five, a
book of designs for chairs only, though it is called "The Cabinet-Maker's
real Friend and Companion," as well as the Chairmaker's. This publica-
tion professes to shew their method of striking out all kinds of bevel-
work, by which, as the author says, the most ignorant person will be
immediately acquainted with what many artists have served seven years
to know. But this assertion both exceeds the bounds of modesty and
truth, since there is nothing in his directions for bevel-work, which he
parades so much about, but what an apprentice boy may be taught by
seven hours' proper instructions. With respect to the geometrical view
of the Five Orders which he has given, these are useful, and the only
thing in his book which at this day is worthy notice ; as all his chairs
are nearly as old as Chippendale's, and seem to be copied from them.

The succeeding publication to this seems to be Ince's and Mayhew's
Book of Designs in Cabinet and Chair Work, with three plates, containing
some examples of foliage ornaments, intended for the young designer to
copy from, but which can be of no service to any learner now, as they are

1 This is strictly true of the third edition of Chippendale's book ; but the first edition of it, printed in
1754, has given two chairs, a dressing-table, and a book-case in perspective, shewing the lines for drawing
them. But why these examples were not continued in the succeeding editions I know not. In the last
edition of any work, we naturally expect to see it in its best state, having received its last revisal from the
author, or some other hand equal to the task ; and therefore it can never be thought unfair for a reader to
form his judgment of a book from the last impression. I hope, therefore, this will sufficiently apologise
for the above observation.

PREFACE xxi

to, aS 3re Wh°"y laid aside in <he cabi"« Branch,

to the present taste.

The designs in cabinets and chairs are, of course, of the same cast

may "1 r SferCd ;hYamC foe- Yet' !n *»*« (° *« work U
o Chtp d le's Th he" ' °f meHt " "S d^' th°USh much '"ftri"

maste^in t! desfgnf W3S " ^ "i** 3S -11 ^ — ««•"« -"-
In looking over Ince's book I observed two card-tables with

T she7,g the manner °f ded^ zZnSzz

are a useful attempt ; but certain it is to me from some-

lncr^T that "° PerS°" Can ha™ '^ -^'e« - ITntanc
- principles of perspective, merely from seeing two or three line,
joined to a plate, without proper instructions by letter-press I, i ue

holsterlr-fGuT"'788 ™ Published- " The Cabinet-maker's and Up-

se books now mentioned, and will appear to

xxii PREFACE

be on as lasting a foundation as can well be expected in a work of this kind.
For instance, the first part, which provides the workman with geometrical
lines, applied to various purposes in the cabinet branch, cannot be subject
to alteration any more than the principles of reason itself. The same may
be said of Perspective ; the subject of the second part. This art, being
founded on Geometry and Optics, may be improved in its practice but its
fundamental principles can never be altered, any more than the nature of
vision itself.

As to the designs in furniture contained in part third, these are indeed
liable to change ; nor is it in the power of any man to provide against it,
by making such drawings as will always be thought new. Yet the instruc-
tions given on the manufacturing part being founded on real experience
and practice, will be much the same at all times. It also adds to the
usefulness of the designs, that I have in general given their geometrical
dimensions, either laid down on the ground, or other scale lines adapted for
that purpose, or else described in the letterpress. So that no person,
however ignorant of perspective, can easily mistake the perspective for the
geometrical measurements, or be at any loss to know the general sizes of
such pieces as shall be introduced.

In proceeding however, with the first edition, I found that to give
scales for the perspective heights and widths could not be done, in many
instances, without encumbering the designs in such a way as greatly to
hurt their appearance. To remove this inconvenience, and to assist those
who have a little knowledge of perspective, in obtaining the true measure-
ments of such designs or engravings as may have no scales to them, I have
shewn, in the perspective part, that this may be easily done, by finding the
vanishing points and distance, and tracing their visuals forward to the
ground line. In the first edition this is done at the end of the Appendix,
because its usefulness did not strike me till I came to that part of the
work.

With respect to mouldings and various ornaments, the subject of the
fourth part, it is granted that these are of a changeable kind. Yet it is
pretty evident that materials for proper ornaments are now brought to
such perfection as will not, in future, admit of much, if any, degree of
improvement, though they may, by the skill and touch of the ingenious
hand, be varied, ad infinitum, to suit any taste at any time.

Lastly, I would entreat leave gratefully to acknowledge the general
encouragement I have been favoured with in going through the first
edition : and though my vast expense has deprived me of the emolu-
ment that might have been expected for so numerous a subscription,
yet it is some consolation to be conscious that I have spared no expense,
nor withheld anything in my power to do the work justice, and give
satisfaction to the public.

PREFACE

XXlll

And I have the additional happiness to know, from several testi-
monies, the full approbation that the work has obtained in the judgment
of the candid and skilful. And, notwithstanding the ill nature of some,
who hate to speak well of anything but their own productions, I only
wish that a comparison be made with any other book hitherto published
for the use of Cabinet-makers and Upholsterers, and then it will suffi-
ciently speak for itself.

And now, in going through this third edition, it is still my steady
intention to contribute as much as I can towards improving the work,
and rendering it as complete as is in the power of,

Gentlemen,

Tour humble Servant,

THOMAS SHERATON.

CONTENTS

THE CABINET-MAKER

Basin Stands, Corn, r

Bed, Alcove,

Bed, Design for, .

Bed, Duchesse,

Bed, Elliptic, for a single ladv|
Bed, English State,
Bed, French State,
Bed-steps, .
Bed, Sofa,

Bookcase, Cylinder Desk
Bookcase and Secretary, '
Bookcase, Cylinder Desk,
Bookcase and Writing Drawers
Bookcase Doors,
Bookcase Doors,
Box, Lady's Travel line
Cabinet,
Cabinet,

Capital Tuscan Entablature and,
Cases, knife,
Chairs, Conversational,
Chairs, Backs for Parlour
Chairs, Backs for Painted,
Chairs, Drawing-room,
Chairs, Drawing-room,
Chairs, Drawing-room,
Chairs, Parlour,
Chair Legs, .

Chairs, Splads for Painted and Mahogany
Elb°WS '«

Chamber Horse,

Chest, Dressing, .

Clock Cases, .

Commode,

Commode, Dressing Table

Cornices for Friezes,

Cornices for Windows,

Cupboard, Pot,

Drapery, Window,

Drawing-room Ends,

Drawing-room Sides,

Drawing-room, Prince of Wales's Chinese

"wt0

Fire Screens, Horse,
Fire Screens, Tripod,
Five Orders, The, .
Frieze, Ornament for,
Girandoles, .
Glass, Horse Dressing,

SHERATON

AND UPHOLSTERER'S DRAWING-BOOK

I' ACE
23

47
45
45
44
42

43
46

48
15
14

20
21
26
II
28

56
36

3
4
5
i

Leaves, Various Ornamental
Legs for Pier and Card Tables,
Library Case,

Night Tables, Corner

Ornaments, .

Panel, Ornament for painted

Parlour, Dining, .

Pedestal, Tuscan, .

Pediments for Bookcases

Pilaster, Cornice and Frieze for

Pilasters for Commodes,

Pulpit, Design for,

Secretary, Gentleman's,

Secretary, Lady's, with carved front

Secretary, Lady's, .

Sideboard with Vase Knife Cases, \

Sprns for

2
12
28
29
14

41
If)

49
53
3°
37
38

xxv

Sofa, Drawing-room,

Steps, Library Table and,

Stool, Gouty,

Table, Bidet Dressing, .

Table, Borders for Pier,

Tables, Borders for Pier

Tables, Card,

Tables, Centres for Pembroke

lable, Cylinder Wash-hand, .

Table, Drawing-room,

Table, Dressing, .

Table, Harlequin Pembroke,

Table, Horse Dressing-glass and Writini

Table, Inlaid Ornamental, Design for

lable, Kidney,

Table, Lady's Dressing Writing,

lable, Lady's combined Dressing

lable, Lady's Dressing,

Table, Lady's Cabinet Writing,

Tables, Lady's Dressing,

Tables, Lady's Work,

Table, Library,

Table, Library, with Secretary Drawers, '.

lable, Library, and Steps combined,

lable, Pembroke, .

Table, Pier, . . ]

Table, Screen,

Table, Universal, .

Table, Writing, .

Wardrobe,

Washstand,

PAGE
20
49
25
17
22

5°
56

• 56
55
5°
52
56
25

30
35

36
36

22
15

55
24
ii

27
32
14

29
26

3°

33
18

. 33
10

3°

37
3°

XXVI

CONTENTS

DESIGNS FOR HOUSEHOLD FURNITURE

Bed, Alcove, .
Bed, Camp, .
Bed, Canopy,
Bed, Canopy,
Bed, Design for, .
Bed, Design for, .
Bed, Design for, .
Bed, Design for, .
Bed, French, .
Bed, French, .
Bed, Grecian,
Bed, Sofa,
Bed, State, .
Bed, Swinging Crib,
Bookcase,
Bookcase,
Bookcase,
Bookcase,
Bookcase, Bureau,

Bookcase, Cylinder,

Bookcase, Doors, .

Bookcase, Moung,

Bookcase, Secretary and,

Bookcase, Sister's Cylinder,

Buffet, .

Cabinet,

Case, Library.

Chair, Bed, .

Chair, Bergere,

Chair, Cabriolet Arm, .

Chair, Camp,

Chair, Conversation,

Chair, Corridor, .

Chairs, Drawing-room, .

Chair, Drawing-room, .

Chair, Easy or Tub,

Chair, Fauteuil, .

Chair, Hunting, .

Chair, Masonic,

Chairs, Nelson's, .
Chairs, Parlour,
Chairs, Parlour,
Chairs, Parlour,
Chairs, Parlour,
Chairs, Parlour,
Chair, Reading,
Commode, .
Commode, Dressing,
Couches, Grecian, .
Curricules,
Draperies, Window,

ii9

116
117

108

Draperies, Window,
Draperies, Window,
Draperies, Window,
Draperies, New French Window, .
Draperies, Window and Pier Glass,

122

• 125
127

124

120

109
no

Drapery, Window, .
Drapery, New Window, .

I 2O

. 123
Of

Fire Screen, .

112

Fire Screen, Tripod,

fiA

jj ,

Herculaneums,

114

Light, Chinese,

. 107

I2O

Light, Gothic,

lO?

118

Mouldings for Architraves, .

128

119

IOO

Mouldings for Cornices,
Pillars for Tables, . • •

128
. 128

101

Secretary, Gentleman's, .

IO2

Sideboard,

Sideboard, ..••••

Sideboard, ..-•••

. £

103

Sideboard,

106

Side-table,

i~ £.

Side-table, .

s 1

Sofa, Grecian,

Sofas, .

7°

£ H

Steps, Library,

Table, Camp,

Table, Cylinder Writing,

Table, Dining,

104

Table, Dressing, .

Table, Gentleman's Shaving, .

Table, Horse-shoe Writing, .

Table, Lady's Writing and Dressing,

Table, Lady's Writing, .

9°

Table, Lady's Work, .

Table, Lady's Work,

Q/T

Table, Library,

Table, Library, . . •

126

Table, Library,

Table, Loo, .

Table, Occasional,

Table, Octagon Library,

Table, Pembroke, .

Table, Pier,

Table, Pier, ....

Table, Pouch,

Table, Quartette,

Table, Sofa, .

Table, Sofa

78, 79

Table, Sofa, .

Table, Sofa Writing,

Waiters, Dumb, ....

. 82, 90

Wash-hand Stands, Corner, .

121

SHERATON

Drawing- Room Chairs and Sofa

SHERATON

Chaises Longues

SHERATON

Conversation Chairs and Sofa

SHERATON

Backs for Parlour Chairs

SHERATON

Backs for Painted Chairs

SHERATON

Splads for Painted and Mahogany Chairs

SHERATON

o
o

b/5

-Q

13
C
oj

in
O.

4-J

SHERATON

Chair Legs

SHERATON

Three Parlour Chairs and a Drawing-room Chair

SHERATON

Drawing-room Chairs and Pier Tables

SHERATON

A Drawing Table, a Cabinet, and Tripod Candlestands

SHERATON

A Commode Dressing Table, a Chamber-horse, a Lady's Dressing Writing Table
a Writing Table, and a Cylinder Desk and Bookcase

SHERATON

Card Tables, Lady's Cabinet, showing inside fittings, and a Kidney Table

SHERATON

Ornament for a Table, Secretary and Bookcase, and Clock Cases

SHERATON

Border for a Pier Table, and a Cylinder Desk and Bookcase

SHERATON

— V

Borders for Pier Tables

SHERATON

Bookcase and Writing Drawers, Drawing Table, Lady's Secretary with carved front,

and Library Steps and Pembroke Table

SHERATON

A Library Table and a Lady's Dressing Commode

SHERATON

Horse Fire Screens and a Library Table with Secretary Drawers

SHERATON

Various Leaves and Bookcase Doors

SHERATON

Bookcase Doors

SHERATON

'• * /.'(' •

•^sUfff^ '<.

;

New Bed-steps, a Bidet Dressing Table, and a Night-Table Basin-stand

SHERATON

Corner Basin-stands and Corner Night Tables

SHERATON

Tripod Fire Screens and a Cylinder Wash-hand Table

SHERATON

A Gentleman's Secretary and a Library Case

SHERATON

Dressing Table and a Lady's Travelling Box

SHERATON

The Universal Table and a Harlequin Pembroke Table

SHERATON

A Cabinet and a Dressing Chest

SHERATON

A Lady's Combined Dressing Table and a Dressing Chest

SHERATON

Lady's Cabinet and Writing Table, and Lady's Dressing Table

SHERATON

A Screen Table, a Wash Stand, a Lady's Secretary, a Pot Cupboard

SHERATON

Horse Dressing Glass and Writing Table, Horse Dressing Glass,
and a Lady's Writing Table

SHERATON

Ladies' Work-Tables and a Pembroke Table

SHERATON

Sideboard, showing Spring for Secret Drawer, and a Sideboard Table

SHERATON

Sideboard with Vase Knife-cases, and Sideboard with Mahogany Vase

underneath to hold Bottles

SHERATON

A Gouty Stool, Knife-cases, and Library Steps and Table

SHERATON

A Wardrobe, and Cornices, Curtains, and Drapery for Drawing-Room Windows

SHERATON

The Two Ends of a Drawing-Room

SHERATON

V. 1

The Two Sides of a Drawing-Room

SHERATON

A View of the Prince of Wales's Chinese Drawing-Room
View of south end of same Room

SHERATON

T3
O

SHERATON

An English State Bed

SHERATON

't/i

T3
V

G
03

'a,

4->

[XH

SHERATON

A Sofa Bed

SHERATON

i. I I •- t.\,v ^ w ^ b v * t

A Summer Bed in two Compartments

SHERATON

An Alcove Bed

SHERATON

Bed Pillars

SHERATON

'£fs-~ *''"••. 1.4. '•\V*W. *"«•«••*•' r

Ornament for a Painted Panel, Girandoles, and a Cornice
and Frieze for a Pilaster

SHERATON

tw&l

f- >. J y

Cornices for Friezes, and Legs for Pier and Card Tables

SHERATON

"Hi

Pilasters for Commodes

SHERATON

Window Cornices

SHERATON

Specimens of Ornament for the exercise of Learners

SHERATON

Pediments for Bookcases, and Centres for Pembroke Tables

SHERATON

A Dining Parlour, in imitation of the Prince of Wales's, a Pulpit,
Tuscan Pedestal, Tuscan Entablature and Capital

SHERATON

THE FIVE ORDERS

L.-

Tuscan

Doric

Ionic Composite or Corinthian

Roman

DESIGNS FOR
HOUSEHOLD FURNITURE

DESIGNS

FOR .

HOUSEHOLD FURNITURE

EXHIBITING A VARIETY OF

ELEGANT AND USEFUL PATTERNS

IN THE

Cabinet, Chair, and Upholstery Branches

ON EIGHTY-FOUR PLATES

BT THE LATE

T. SHERATON

CABINET-MAKER

LONDON

PUBLISHED BY J. TAYLOR

AT THE ARCHITECTURAL LIBRARY
N°- 59 HIGH HOLBORN

1812

SHERATON

Parlour Chairs

SHERATON

Parlour and Drawing- Room Chairs

SHERATON

Parlour and Drawing- Room Chairs

SHERATON

Herculaneums, Drawing-Room and Parlour Chairs

SHERATON

A Tub or Easy-Chair
A Cabriolet Arm-Chair
A Parlour Chair

Library Steps
Chair Bed

A Fauteuil Chair
A Hunting Chair
A Parlour Chair

SHERATON

Camp Chair Camp Table Bergere Chair

Masonic Chair Reading Chair

Nelson's Chairs

SHERATON

Coiridor Chair, Conversation Chair, Curricules, and Grecian Sofa

SHERATON

y. .K. A A /.. .*. A.H. A A A JUV. A A A J

Sofas

SHERATON

Grecian Couches

SHERATON

15
o

SHERATON

Side-Table and Sideboard

SHERATON

Pier Tables

SHERATON

A Commode and a Pier Table

SHERATON

A Cabinet and a Commode

SHERATON

Cabinet and Quartette Table

SHERATON

Lady's Writing and Dressing Table

SHERATON

Lady's Writing and Dressing Table, and Dumb Waiters

SHERATON

Dressing Commode and Pier Table

SHERATON

Corner Wash-hand Stand, Tripod Fire Screen, and Cylinder Writing Table

SHERATON

• -i (UiiiHiininTii raiHi!'i:iT|ii'W[ii'iimniii|ii,ri!riii»iK

Buffet, Fire Screen, and Sofa Table

SHERATON

Sofa Table and Library Table

SHERATON

Loo Table and Sofa Table

SHERATON

Ladies' Work Tables and Sofa Writing Table

SHERATON

r*,.

Ladies' Work Tables and Pouch Tables

SHERATON

Dumb Waiters, Gentleman's Secretary, and Lady's Writing Table

SHERATON

Horseshoe
Writing Table

IIIJJ111J1J.II

»»»».» iL. J,-> •>_»..£.:*. .

Gentleman's Shaving Table and Occasional Table

SHERATON

Pembroke Table, Dressing Table

SHERATON

Bureau Bookcase, Library Tables, and Moving Bookcase

SHERATON

Library Table

SHERATON

Octagon Library Table

SHERATON

New Design for a Dining Table

SHERATON

unninirniium rrnnum uuvuv A\\\ \Vi\v\\

Secretary and Bookcase

SHERATON

Secretary and Bookcase

SHERATON

Secretary and Bookcase

100

SHERATON

Bookcase

IOI

SHERATON

Bookcase

IO2

SHERATON

Bookcase

103

SHERATON

Cylinder Bookcase

SHERATON

Bookcase and Library-case

SHERATON

105

OJ
t/)
oi
o

4->

io6

SHERATON

Bookcase Doors

SHERATON

Gothic Light

Chinese Light

io8

SHERATON

A New Design for a Bed

log

SHERATON

A New Design for a Bed

110

SHERATON

Design for a Bed

SHERATON

Design for a Bed

112

SHERATON

French Bed

SHERATON

French Bed

SHERATON

A Grecian Bed

SHERATON

Alcove Bed

SHERATON

Canopy Bed

117

SHERATON

Canopy Bed

SHERATON

State Bed

SHERATON

A Swinging Crib Bed Camp Bed

I2O

SHERATON

Window and Pier Glass Draperies, and Sofa- Bed

121

SHERATON

Window Draperies

I 22

SHERATON

Window Draperies

123

SHERATON

New .Window Draperies

I24

SHERATON

New French Window Draperies

125

SHERATON

Window Draperies

126

SHERATON

Window Drapery and Drawing-Room Chair

127

SHERATON

Yv /YVY/T /VW / V / ^Y

Window Drapery

128

SHERATON

Mouldings for Architraves and Window Cornices, and Pillars for Tables

BINDING SECT. HPR39WW

Sheraton, Thomas

The furniture designs

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